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Jane Fonda has released a statement in support of Mark Ruffalo after Paramount slammed the four-time Oscar nominee as “antisemitic” for a recent post denouncing Larry Ellison’s ties to Israel and David Ellison’s planned merger with Warner Bros. “Especially as a Jewish American, I find it deeply troubling to see false accusations of antisemitism used to silence legitimate political criticism in this country,” Fonda wrote in a statement shared to the Committee for the 1st Amendment Instagram. “Antisemitism is real and dangerous, which is precisely why the charge should never be used as a cudgel against people whose political views you dislike, in this case as dedicated a crusader for democracy as Mark, whom we are proud to have as a Committee member and to be in this fight with us.” “Mark Ruffalo has a First Amendment right to speak out about politics, powerful corporations and this dangerous merger — full stop,

Iowa Attorney General Brenna Bird wrote in an op-ed for The Daily Wire that she is suing California for leading the charge in the lawsuit against the Paramount-Warner Bros. merger. “California is once again trying to be the country’s regulator. And once again California is defying common sense to raise costs around the country,” Bird wrote. “That makes this a dispute between states, and the Constitution says those can only be heard in the U.S. Supreme Court.” It’s unclear if Bird has filed any paperwork for her lawsuit or if there’s any legal authority that the state of Iowa could invoke. However, the threat of taking California to the Supreme Court may be enough to bring the state’s Ag Rob Bonta back to the bargaining table. Bird argues that “any Iowa family” would tell you the cost of streaming is too high and that there

Dolly Parton was and will forever be a singular presence and performer. Losing her at the age of 80, after a career that spanned seven decades, still feels like a woman gone too soon, but we are blessed to have 50 albums and countless interviews and on-screen appearances to keep her alive forever. Rightfully known as the Queen of Country Music, Parton was also a well-respected actress in her own right and appeared in a number of fantastic films and TV shows over the years. Whether it was an episode of "Hannah Montana" alongside her goddaughter, Miley Cyrus, or her many holiday specials, Parton found plenty of ways to keep her star shining brightly.

An adaptation of Peter Heller’s 2012 novel never finds its footing with overly familiar survival beats and a glum lack of energy Looking towards the end of an August movie dumping ground littered with more unwanted trash than usual, there seemed to be a faint glimmer of hope, a shiny treasure poking out through the dusty mass of unnecessary sequels and sex purge romcoms. Somehow, there was a $110m-budget adaptation of an acclaimed novel directed by Ridley Scott, led by a recently Oscar-nominated rising star with support from two Oscar-nominated actors and an Oscar-winner. But why then would such a film be unveiled in between the summer blockbuster season and

It’s the end of the world as we know it in “The Dog Stars,” and everyone feels — well, not fine exactly, but, you know, fine? Alive, hanging in there, taking it one day at a time. Things could be better, which goes without saying in the aftermath of a flu pandemic that has wiped out most of the planet’s human population, but the four principals here could also be dead, so there’s that. That shrugging, slightly bereft air of just-getting-by is the prevailing mood of Ridley Scott’s post-apocalyptic survival story, and it’s a tough one to sustain dramatically, much less with any sense of intrepid adventure. Somewhat aptly released at the tail end of a long, loud movie summer, this is a surprisingly low-energy, low-incident blockbuster; you’d appreciate its mellow, character-oriented approach if it gave you any real characters to hold onto. Peter Heller

Ridley Scott's "The Dog Stars" is an odd film. I mean that in a mostly complimentary way — Scott could've done something far more straightforward and borderline crowd-pleasing with this material, but instead has made a movie that attempts to cram a variety of tones and influences into one strangely low-key package. Adapted by screenwriter Mark L. Smith from Peter Heller's novel, "The Dog Stars" isn't treading any new ground; it recalls a plethora of post-apocalyptic films that came before it, and while the characters are adults, there's a touch of YA book saga influence on display. Just to round things out, "The Dog Stars" also dips into video

Ridley Scott’s 30th feature film, dating back to his legend-making “The Duellists” in 1977, the post-apocalyptic “thriller” “The Dog Stars” isn’t a total misfire — it’s just the first Ridley Scott joint in some years that feels totally unnecessary. In this dourly introspective adaptation of Peter Heller’s novel by screenwriter Mark L. Smith, Jacob Elordi plays a mechanic now eking out a living alongside paranoiac survivalist Josh Brolin after a viral plague wiped out most of the global population. From the South American-inflected folk textures from composer Harry Gregson-Williams to the lushly overgrown city of Erie, Colorado, now engulfed in tall grasses, “The Dog Stars” feels dubiously in the vein of “The Last of Us.” But here, there are no brain-infected fungus monsters — only lugubrious, depressed people fighting over the scraps of a lonely planet. (That Smith is the penman responsible next for Peter Berg’s upcoming World

Columbia Pictures’ Spider-Man: Brand New Day has overtaken Avengers: Endgame to rank as the number two highest-grossing release of all time at the North American box office on $858.4m. Brand New Day passed Avengers: Endgame’s $858.3m on Monday and could stay top in its upcoming fifth weekend as it sets course for a $900m cumulative tally by the end of its run in in North America. Star Wars: Episode VII: The Force Awakens from 2015 remains the number one release on $936.7m. Avengers: Endgame is getting a re-release through Disney on September 25 as Avengers Endgame: Encore in a bid to